An Analytical Study on Essence of European Prehistory Cave PaintingsYousefMansourzadehFaculty Member of Higher Education Center for Cultural Heritage and Head of Museology Department , Tehran,authortextarticle2013perAbstract The discovery of cave paintings made by Upper Paleolithic artists in Western Europe was an astonishing find about the human past. They were discovered in the late nineteenth century and involved the scientific community with the new subject under the title of prehistory art. Since the discovery of the astonishing relics, several theories proposed by different specialists with special motivations, that each of them have their special point of view which present own interpretations. Those theories involved researchers in the fields of archaeology, anthropology, art history, sociology and other relevant disciplines after their finding out. There is a basic question here that what the motivations were for the artists’ to make cave paintings. This research attempted to identify the theories regarding the essence of cave paintings since their discoveries that presented and discussed among scientific circles. The discovery of cave art in Western Europe raises many interesting questions and has also forced archaeologists and anthropologists to rethink many of their previous conceptions about the essence of cave paintings. After cave art was finally accepted (in the late 1890s) as genuine products of Paleolithic people, scholars’ interpretations of its meaning have involved through different stages. Once the first examples of cave art were discovered, theories began to emerge that attempted to explain the phenomenon. This research identified here five major hypothesis, with dates and main proponents as follows: 1-Art for art’s sake The proponents of this model asserted that the artwork was created for purely aesthetic purposes of pleasurable viewing and as an expression of personal urges to make images devoid of any symbolic meaning.2- Totemism, which has been practiced by a number of societies throughout time, constitutes a special relationship between a human group or clan, and an animal species. – 3-Hunting magic- the goal of hunting magic is to ensure successful hunts. Evidence to support this theory within Upper Paleolithic parietal art has focused on paintings of animals that appeared to be wounded and the presence of marks that looked to be representations of weapons. 4- Structuralism- This theory believed that the images were drawn in pairs and assigned the category of ‘maleness’ or ‘femaleness’ to specific groups of animal images. Additionally, apart from the more obvious drawings of human genitalia, they assigned the more cryptic signs as representing male or female genitalia based upon how narrow or wide they were. 5-Shamanism is a religious “technique of ecstasy. Shamans enter altered states of consciousness – trances – at will, in order to achieve some socially-mandated end, such as healing the sick, changing the weather, predicting the future, or conversing with spirits..Consequently being different theories and approaches proves the fact that Paleolithic art has no specific function, but this art created to respond to different incentives and requests, and understanding of cave paintings requires a periphrastic pluralism. Understanding of true intentions of prehistoric artists requires consensus of different disciplines, although the ethno archeologists have obtained valuable results with their presences among primitive tribes, but multidisciplinary studies on cave arts can be explain more effective.Honar-Ha-Ye-Ziba: Honar-Ha-Ye-Tajassomiپردیس هنرهای زیبا دانشگاه تهران2228-603918

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2013115https://jfava.ut.ac.ir/article_36318_2b16b5226a05443b85108db5d16a700c.pdfdx.doi.org/10.22059/jfava.2013.36318Plant of Life
In the Ancient Iran, Mesopotamia & EgyptSadreddinTaheri1Assistant Professor, Department of Museology, Faculty of Tourism & Entrepreneurship of Art, Isfahan University of Art,authorZohrehSoltanmoradiM. Sc. of Archaeology, University of Sistan & Baluchistanauthortextarticle2013perAbstract This article is trying to pursuing the idea of "Plant of life" in the art of ancient Iran, Mesopotamia & Egypt people, by researching their myths and beliefs and also looking at the motifs of their artifacts, by mean of shine a flash on relationship between these cultures. Plant has had a great place in thoughts of ancient east people as prototypes like tree of life, cosmos tree, origin of herb, and source of medicines. Plant has always been a sorcerous sign that compound four elements، water, air, fire and earth. It correlates underworld, globe and heaven. And it’s a reminder of revitalization, immortality and fertility. In the Avestan and Pahlavi literature and Iranian mythology, we can find several plants related to life, eternality and cure, like، Amordad (guardian of plants, goddess of trees and immortality), Gukaran (or Houm-e sepid, a tree that its vivacity would certify continuance of life in universe), Bas tokhmak (a tree with remedial attribute, retentive of all herbal seeds, and destroyer of sorrow), Mashy and Mashyaneh (parents of the human race in Iranian myths), Barsam (copped offshoots of pomegranate, gaz or houm that Zoroastrians use in their rituals), Houme (a plant, unknown today, that was source of sacred potable), Derakht-e Assuric (an old tree that is debating with goat, in an epopee with the same name). Maybe the first inscription about plant of life is the Sumerian story of Inanna and the Huluppu Tree. The poem gives a mythic explanation of how the throne and the bed used in the "Sacred Marriage" came into existence. In the epic of Gilgamesh, Utnapishtim tells him of a plant growing under water that can restore youth to a man. Gilgamesh finds the plant and picks it; he decides to take it to Uruk, but as Gilgamesh bathes, a serpent rises up and snatches away the plant; immediately it sloughs its skin and returns to the well. Etz Hayim, also transliterated as Etz Chaim refers to tree of life in Judaism. It’s said Genesis 2،9 that، “And out of the ground made the Lord God to grow every tree that is pleasant to the sight, and good for food; the tree of life also in the midst of the garden, and the tree of knowledge of good and evil”. Plant of life has been seen in ancient Mesopotamia with various features, like، palm, pomegranate, cedar, grapevine, etc. In the art of Assyrian period the tree has been transformed to an intricate type, which is formed with the parts of several different plants. In Egyptian mythology, Isis and Osiris were said to have emerged from the acacia tree of Iusaaset, which the Egyptians considered the tree of life, referring to it as the "tree in which life and death are enclosed. Also we have found this motif in the artifacts of Cheshmeh Ali, Tal-e Bakun, Sialk, Jiroft, Shahdad, Shahr-e Sukhteh, Susa, Lorestan, Kalmakareh, Hasanlu, Amarlu, Marlik, ziwieh, Persepolis, Khafajeh, Ur, Isin - Larsa, Tell Asmar, Nineveh, Nimrud, Khorsabad and Thebes. Honar-Ha-Ye-Ziba: Honar-Ha-Ye-Tajassomiپردیس هنرهای زیبا دانشگاه تهران2228-603918

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2013115https://jfava.ut.ac.ir/article_36319_2f80faec9745352d654459ee13252f18.pdfdx.doi.org/10.22059/jfava.2013.36319Investigation of Sun Array in Yazd Architectural Handicrafts and DecorationsHamidBehdadM.A. Student of Painting , Yazd Islamic Azad University, Yazd, IranauthorBehnamJalali JafariMember of Scientific Mission in Art and Architecture College, Tehran Science and Culture University, Tehran, Iranauthortextarticle2013perAbstract Sun was always in special place among Iran and world myths that can be know as the eldest station for worshiping sun, cross or Swastika is the most common face which has been turned to capital for the craftsmen and artists of the various eras in order to decorate handicrafts beside other various images of sun. This epidiascope is one of the eldest ancient epidiascope and it can be seen in the most world ancient civilization. Generally, sun and its dependent images such as cross are rooted from Mithraism religion. The religion which transferred from Iran to Mesopotamia and Asia Minor and entered to Greece and Rome through contacts and political and social communications and it penetrated in Christianity and progressed to north of England in west and to India in east. Sun epidiascope is repeatedly seen in ceramic and metallic works of ancient Iran with the various shapes during various historical eras. Sometime, in form of single, full disk with lines that indicate its radiations and sometime with its manifestations such as human, horse, goat, wheel, ring and cross. This epidiascope gradually has been transformed and appeared with the various forms with Iranian human cosmology in Iran cultural area. So that, it became decoration of after Islam Iranian handicraft in form of epidiascopes like Shamse or in combination with the holy and blessing names such as Allah, Mohammad and Ali in form of three and four branch cross in Islamic concepts. Even nowadays, also sun array can be seen in the various handicrafts and architectural decorations in Iran various areas, particularly in Yazd region. Science Yazd city is far from forests and with huge events during history and intact historical texture and also present of main centers of ceramic working, coopersmithing and blacksmising and textile in this city is always proper source to study some subjects such as circumstances of change procedure of Iranian original epidiascopes such as sun and apparent variety of these arrays. In this city, various pictorial qualities of sun epidiascope can be seen in the architectural decorations and handicrafts. Yazd historical records and cultural and geographical features and variety of applying sun epidiascope in different eras in this city propounded some questions about apparent distribution of sun epidiascopes, apparent variety of the shapes affected by this picture in handicrafts and architectural decoration of this area, relation of these images with other images obtained from Iran plateau civilization regions. In this article, it is attempted to investigate the myths and symbolism aspects of sun epidiascopes in the handicrafts and religious and literal texts of ancient Iran. Then, change procedure of this epidiascope in ancient Iran handicrafts, particularly in ceramic has been considered as the most common and the eldest investigation source of decoration images. In the next step, after considering the geographical, ecological and cultural special features of Yazd area, apparent variety of sun epidiascope in woven, metalworking, ceramics and architectural decorations of this area are considered in frame of picture and line and schematic designs. Honar-Ha-Ye-Ziba: Honar-Ha-Ye-Tajassomiپردیس هنرهای زیبا دانشگاه تهران2228-603918

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2013117https://jfava.ut.ac.ir/article_36375_686d601747005d50d4aac7e813e7d7ee.pdfdx.doi.org/10.22059/jfava.2013.36375The images of "Animal-Plant" in the Sassanid Arts and their influence on Islamic Arts and Romanesque in FranceAlirezaTaheriAssociate Professor, Faculty of Arts, University of Sistan & Baluchistan, Zahedan, Iraauthortextarticle2013per In this article, we aim to discuss a compound and fictional creature, which is highly mentioned in the fields of fiction, mythology and the art of different civilizations: a creature with the body of an animal, whether real or imagined, and a combination of plant ingredients, a large group which encompasses a type of mythical creatures and the combination of "animal - plant". Sassanid art has created diverse types of this combinational creature in different ways, which has had a great impact on the art of other lands. This compound creature has emerged in the art of the Islamic countries, especially the Mediterranean art and Romanesque art in France. The idea of ​​creating such a creature presents a common image of the two great natural and living powers which have influenced the Human life. Over the centuries and millennia, the human life has been directly connected to the animals and plants around. It wasthe creation of such a combination and the concentration of the two natural powers that could bear some of the concepts and symbols. The creature could be either the patron or a threat. The combination of “animal-plant” also represents one of the most applicable imaginary creatures, which is created through binding and combining one or several organs of the animal with the herbal or abstract forms. These questions are posed in this article: what is the basis of this structure? How has it influenced the Islamic and the Western Europe art, particularly the Romanesque art? The creature is made by combining the real and imaginary animal forms with the different types of natural and abstract plant species, from simple shapes to complex shapes. This figure influenced the art of Islamic, Byzantine and Western Europe countries through the trades, commerce and royal gifts (metal objects, the Sassanid silver dishes and fabrics, especially silk). The Integration of animal and plant can be seen almost everywhere in the Sassanid Empire, the Post-Sassanid, Central Asia, in Eastern Europe and Central European. This fantastic creature as a new form developed in the Islamic arts. The Romans churches in Spain and France in particular, were the scene of these creatures. According to the engraving and drawing the narrative scenes of the Old and New Testament narrative scenes on the outer walls and cubic capitals of these churches has generated a wonderful space through combining these designs with other elements. comparing many figures of "Animal-plant" on the walls and capitals, especially the symmetrical and capitals designs of the Griffin, and the way their tails are combined with plants or plant shapes coming out of their mouths makes the impacts of Sassanid samples on their creators undeniable. No particular research has been conducted on the subject of Sassanid “animal-Plant” so far. The present study is theoretical based on the descriptive and analytical research methodology applying documental and library resources. Among the many samples representing this creature, a set of samples has been selected, including the pottery and metal works, disregarding the Sassanid silk fabrics.Honar-Ha-Ye-Ziba: Honar-Ha-Ye-Tajassomiپردیس هنرهای زیبا دانشگاه تهران2228-603918

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2013114https://jfava.ut.ac.ir/article_36377_c2020a5f88941920ee614dac7268a896.pdfdx.doi.org/10.22059/jfava.2013.36377A Study Of Meander Motif And Its Position In The Ancient Civilizations*SamadSamanianAssistant Professor, Department of Handicraft, Applied Art Faculty , University Of Art, TehranauthorMinaHasanzadehM.A. Of Handicrafts, Department of Handicraft, Faculty Of Art, University Of Sooreh, Tehran, Iranauthortextarticle2013perAbstractOne of the methods for communications with various people's culture and art is to understand their views and beliefs as well as possible. In many cases, such beliefs appear in the forms of motifs and pictures drawn on artworks and historical-cultural artifacts; therefore, recognition of these patterns is of great importance in this regard. The meander pattern is one of such motifs used as a symbolic and decorative array among various cultures throughout the history. This research aims at finding and recognition of the meander pattern and manifestation of various people’s beliefs and views in the form of those motifs. So while studying the meander pattern in different encyclopedic, historical and symbolic meanings, we reviewed types of the pattern and its relationship with other designs. Moreover, the need for recognition of the motifs and symbols in the culture and art of Iran, and attaining more information about their background in various arts, led us to study these arrays in the Iranian art of prehistoric era and later periods. This research has applied with descriptive and analytical methods. In the search and compare of the meander pattern in the cultures is received that, it symbolic pattern, sometimes has made progress synchronized in different parts of the world. Variety of this pattern throughout the world is the result of the influences and impressions that man got from his environment and different forms and designs around him. It has normally started with simple patterns and gradually it developed into more complex forms in an organized way. Although unknown, but yet this artistic form has been present in Iranian art since prehistoric period, mostly with a symbolic quality.Various interactions among great civilizations in the past have led to mutual influence of their related cultures, relations and trades; those cultures consequently borrowed some decorative images and symbols from each other. The symbol of meander pattern entered Iran from prehistoric period; as Iranian art had a symbolic quality and tried to express its concepts and meanings in the form of abstract expressions, it received meander pattern in a limited form. Meander pattern was originally found on the Tel Bakon ceramics. Besides, there were some other patterns of meander among the carvings on the Soapy dishes of Jiroft. Such designs have been also found in the decorations of ceramics and architecture of the region dating back to the 4th millennia B.C., but it has a more constant and significant presence in ancient civilizations of China and Greece. According to various opinions, given the oldness of the discovered artifacts we can figure out that the meander patterns as decorations on admiralty dishes of primary dynasties in China were much older than the carvings on Greek ceramics. These motifs have had symbolic usage in both of the mentioned civilizations, and they have been usually used to separate the bed from the margins of the work, or used in line and strap decorations of various works. They were also applied in different parts of buildings too. The motif has often been known as the symbol of life and longevity.Honar-Ha-Ye-Ziba: Honar-Ha-Ye-Tajassomiپردیس هنرهای زیبا دانشگاه تهران2228-603918

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2013115https://jfava.ut.ac.ir/article_36378_a272cd3e21b34477025fd38e43f03355.pdfdx.doi.org/10.22059/jfava.2013.36378Semiotics of Time and its Finger Print in Memento PhotographsAfsanehKamranPhD student of Art Studies , Faculty of Art, Alzahra University, TehranauthorAshraf SadatMusavilarAssistant Professor, Faculty of Art, Alzahra University, TehranauthorZahraRahbarniyaAssistant Professor, Faculty of Art, Alzahra University, Tehranauthortextarticle2013per Abstract memento photographs is the one in which the memory element is more recognizable than any other types of photograph like, snapshot, family photos, personal and domestic ones. In fact the role “memory” is the witness of the time. From the time which camera was invented, its capacity to record the scars of the time made it the popular art among the others. According to the camera’s ability to record the fact, it seems that the photograph will reflect the presence in right time and place. According to the similarity of photo to the content, it is called Iconic Sign and due to the cause and effect relation to the subject, it will be Indexical Sign. Do we accept that recognition of time in memento photographs is a semiotic process, this process based on transactions among codes, inside and outside of the text, make it possible determining of a time range for a person unfamiliar with the context based on his knowledge level. This article use librarian resources documentarily and descriptively and code analysis related time in this article is based on Daniel Chandler code pattern. This is assumption that the audience can construe the time and determine its range in a photo by analysis of the codes and sub codes. According to Chandler, among these codes one of the most important is social code which in turn consists of body, commodity and behavioral codes. Moreover, by studying the body code, those like body touch, proximity, physical mode, appearance, facial gesture, etc, one can make a good understanding of time. Yet, the most influential code in the recognition of time in photos is the textual code which consists of photographical and technical codes. Sometimes, interpretive codes, like the perceptive and the ideological, can be helpful in apprehending the time in memento photos. The interaction of these codes with those which are beyond the text, i.e. those like endorsements, marginal notes, anecdotes of each photo which is told among members of the family, the arrangement of photos in album, and any other paratextual relationship between a photo and other texts may lead to some sort of understanding of the process of understanding time in a photo. Time, like any other affair in shape of metaphor, flows in daily language. So, according to Lakoff contemporary metaphor theory we can conceptualize the time by two metaphors of path and movement. The result of these (code analysis and metaphor) shows that time is passing among the past, now and future. In other words, “time passes” from past to now and future then return to the past. The relation between these photos and fact and reflection shows the time. The more a photo has more obvious cultural and technical code, the easier the recognition of time. The social, cultural and technical knowledge of each reader plays the most important role in finding the time out. So, the time recognition in any photo is possible by the transaction between inside elements and outside and intertextuality of any types of photo like family narrations etc.Honar-Ha-Ye-Ziba: Honar-Ha-Ye-Tajassomiپردیس هنرهای زیبا دانشگاه تهران2228-603918

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2013115https://jfava.ut.ac.ir/article_36379_da768a9dbb1ec08421feaba6a253086b.pdfdx.doi.org/10.22059/jfava.2013.36379The Pathology of spatial systems in Persian typefacesSalehElahiLecturer, Faculty of Art, Shahed University, Tehran,authorAbdolrezaCharei2Lecturer, Faculty of Art, Shahed University, Tehranauthortextarticle2013perAbstract Nowadays, with the partial achievement of the global village together with the hegemonic role based on western technology, the culture and of course the style of writing of developing countries (like our own), are at risk of being threatened. In order to maintain their style of writing, these countries must analyze their style and with the help of pathology and by keeping it up to date, try to generalize and adapt it to contemporary standards. Different types of writing, by considering the tools which are used in creating them, can be divided into two categories, “handwriting” and “type”. First one is being made by human’s hand, its most prominent type is “Calligraphy” in which, beauty is it`s most important pillar. But the writing which is created through using electrical or mechanical tools is called “type” and its different visual sorts is called ”Typeface”. In the creation of a typeface, several factors are involved and each of them partly affects its aesthetic and performance quality. How spatial systems are applied in typeface, is one of the most important of these factors which directly affect creation of a required typeface in terms of performance and aesthetic. This article, the aim of which is the pathology of the Persian Typefaces, uses a descriptive-analytical approach. To do so, firstly, spatial systems of the vertical and horizontal axes and their subdivisions have been defined; then their function in different types of Persian typefaces (text, title and decorative) has been comparatively analyzed by employing the two measures of the principles and rules of Islamic-Iranian calligraphy and the principles of Western typography. The performance of factors like griding line and leading in spatial system of vertical axe and performance of factors like kerning, tracking and word spacing in spatial system of horizontal axe have been under pathology and analyzed. Structural and illustrative problems are those which emerge in this realm. The problems related to griding line typefaces have been noticed in locating and the number of base lines, in which locating problem is structural and the problem related to number of griding lines is illustrative, and both can be solved by adaptation with principles of Latin typography. Common problems in leading and word spacing systems are structural and to reform them the use of the principles and rules of Islamic-Iranian calligraphy is beneficiary. Common problems in cornering and tracking are also structural but to reform them, a style which is between both areas and which consists of common rules in both measures should be chosen. Results shows In order to improve the spatial systems’ function and solving the above mentioned problems, the mere adaptation with either the principles and rules of Islamic-Iranian calligraphy or the principles of the design of Western typography does not suffice but For this purpose, the designer must try to design letters and define the spatial systems by both the knowledge of the above principles and by employing them simultaneously.Honar-Ha-Ye-Ziba: Honar-Ha-Ye-Tajassomiپردیس هنرهای زیبا دانشگاه تهران2228-603918

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2013117https://jfava.ut.ac.ir/article_36380_f267d3a75eee9781537b409132328b99.pdfdx.doi.org/10.22059/jfava.2013.36380The Kandinsky’s Position in the Quarel between Form and Content*AmirNasriAssistant Professor, Department of Philosophy, Faculty of Literature and Foreign Languages, Allame Tababa’I University, TehranauthorMarziyehAaleeM.A in Philosophy of Art, Department of Philosophy, Faculty of Literature and Foreign Languages, Allame Tababa’I University, Tehran, Iran.authortextarticle2013perAbstract In the second half of the nineteenth century, visual art distances itself from mimetic realism and relies upon art form, or from another perspective, on the abstracted form of concrete and tangible world and thus paves the way for the emergence of modern abstract painting. Abstraction in art can be examined critically by various methods and styles. This happens due to the fact that in abstract painting the tangible- wordly objects give up theire place to the element of painting, namely colour and form. However in general, the critical study of abstract art divides into two basic approaches: the first one, deals with formalistic view in aesthetic and the second one, with the aesthetic of substantial contentism. It could be said that formalism is rooted in Kant’s view regarding the disinterested object and the notion of purposiveness without purpose. The formalistic viewpoint expanded by post Kantian theorists including Fiedler, Hildebrandt and Wolfflin who shared a belief that according to wich, the aesthetic emotion drive nearly from the form of art and the form itself is the content. Aganits the formalistic view there is the Hegelian substantial aesthetic. According to Hegel artistic form at best express the internal content of art. Hegelian theorists emphasizing the expressive quality of art believe that the development of styles and forms in art results from the differences arised by Geist. With attention to these approaches some questions will be brought up regarding Wassily Kandinsky one of the pioneers of abstract art: was Kandinsky quite apart from the intellectual and artistic environment of his time, which made him the cause of these great developments in art? Is the emergence of abstract painting rooted in the theory of aesthetics? Can we find the common points between abstract painting, particularly Kandinsky’s works and ideas, and theorists and philosophers who have reflected on art? Does he belong to any of these groups? Could be cinsidere his works among the contentists creation, or they are merely the beautifull plays of colour and form? Considering that this paper is about Kandinsky, who apart from the creation of paintings, developed his special art theory and left several books and papers, it seems possible to seek the answers to these questions. Accordingly, by addressing philosophical tradition German idealism, the present paper searches for the origins of abstract art and thereby takes a deep look on Kandinsky’s ideas, and based on these thoughts, tries to explain Kandinsky’s and views. This article is an attempt to examine each of these approaches and it mainly focuses on Kandinsky’s thoughts regarding the quarrel between form and content. At the end of this paper, it will be clear that the above mentioned intellectual traditions are influential in understanding and explaining Kandinky’s theory of abstract art. Also it will be revealed that unlike existing theories, abstract art is not merely the result of mystic traditions, but rather it is in the light of historical and analytical perspective to philosophical traditions that we can gain better understanding about the nature of the formation of abstract art.Honar-Ha-Ye-Ziba: Honar-Ha-Ye-Tajassomiپردیس هنرهای زیبا دانشگاه تهران2228-603918